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Collection:
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ADJUNCT MODULE D: WORLD ART
LocalCollection
ADJUNCT MODULE D: WORLD ART
Collection
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Preferred Title:
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Reliquary Guardian Figure (mbulu ngulu) from Gabon
Work_PrefTitle
Reliquary Guardian Figure (mbulu ngulu) from Gabon
Preferred Title
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Image View:
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Mbulu ngulu, overall view from the front
Image_Title
Mbulu ngulu, overall view from the front
Image View
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Creator:
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unknown (Gabonese sculptor)
Agent_Display
unknown (Gabonese sculptor)
Creator
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Location:
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exhibition: Montreal Museum of Fine Arts (Montréal, Québec, Canada)
Work_Location_Type_D isplay
exhibition: Montreal Museum of Fine Arts (Montréal, Québec, Canada)
Location
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Location Note:
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From Africa to the Americas: Face-to-Face Picasso, Past and Present (2018 exhibition)
Work_LocationNotes
From Africa to the Americas: Face-to-Face Picasso, Past and Present (2018 exhibition)
Location Note
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Date:
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ca. 1890-1930 (creation)
Work_DateDisplay
ca. 1890-1930 (creation)
Date
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Cultural Context:
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Central African; Gabonese
Work_Culture
Central African; Gabonese
Cultural Context
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Style Period:
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Kota (Kota-Mbete region style)
Work_StylePeriodDisp lay
Kota (Kota-Mbete region style)
Style Period
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Work Type 1:
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sculpture (visual work)
Work_Worktype1
sculpture (visual work)
Work Type 1
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Classification:
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Sculpture and Installations
Work_Classification
Sculpture and Installations
Classification
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Material:
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wood; copper alloy
Work_MaterialDisplay
wood; copper alloy
Material
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Technique:
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carving (processes); hammering; metalworking
Work_Technique
carving (processes); hammering; metalworking
Technique
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Subjects:
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abstraction; death or burial; funerary art
Work_Image_SubjectDi splay
abstraction; death or burial; funerary art
Subjects
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Description:
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The Kota once used reliquary guardian figures (mbulu ngulu) to protect and demarcate the revered bones of family ancestors. The bones were preserved in containers made of bark or basketry. The mbulu ngulu stood atop this bundle, bound to it at the figure’s lozenge-shaped base. It is thought that the figurative form of the mbulu ngulu was intended to reinforce and communicate the reliquary’s intense power. Kota mbulu ngulu are unique among African sculptural forms in their combination of wood and hammered metal. The figures largely ceased to be produced after 1930. (Source: Brooklyn Museum; http://www.brooklynm useum.org)
Work_Description_Sou rce
The Kota once used reliquary guardian figures (mbulu ngulu) to protect and demarcate the revered bones of family ancestors. The bones were preserved in containers made of bark or basketry. The mbulu ngulu stood atop this bundle, bound to it at the figure’s lozenge-shaped base. It is thought that the figurative form of the mbulu ngulu was intended to reinforce and communicate the reliquary’s intense power. Kota mbulu ngulu are unique among African sculptural forms in their combination of wood and hammered metal. The figures largely ceased to be produced after 1930. (Source: Brooklyn Museum; http://www.brooklynm useum.org)
Description
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Collection:
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Archivision Adjunct Module D: World Art
LocalCollection
Archivision Adjunct Module D: World Art
Collection
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Identifier:
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7A3-AFRICAN-FAFFM-RG A-A01
Image_OriginalVendor ID
7A3-AFRICAN-FAFFM-RG A-A01
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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